November, 2013

Marron is the originater of guitar electronica, uses a lot of pedals to make his unique sound. He made a big floor hit as dubdub on-seng (calypso on-seng) and as based on kyoto (flower) Marron released his solo album (voicing for example3) this year from shrine.jp. He also known as improviser. He invited MA japan improvisers festival in Belgium 2011, collabolate with Fernando Kabusacki, Bill Horist, Grey Fillastine, Chris Corsano, Yamamoto Seiichi, Katsui Yuji and so on.

Listen:

https://soundcloud.com/shrinejp/4-5-marron-aka-dubmarronics

As the producer side he produced the music of p.a.n (Performance group of Seattle), Max Hattler (visual artist of London), Holon (Performance group of Nagoya) and raised dokkebi award at chunchoen international mime festival 2006 as p.a.n.

This exhibition aims to raise questions regarding the power structures that assign value to art. In the contemporary world, it is no longer possible to articulate or explain art within the classic canons of knowledge since the definition art is no longer fixed. Sina considers art as a dynamic flow comprising all of our surroundings — art college drawing classes, museums, t-shirts, graffiti, galleries, a food stall next to my art college or even the sidewalk. It is the art from all these different venues which provide the aesthetics that drives and changes our society in every era. Each location and those behind it contribute to the assessment of the ‘value’ of the art in any period. For instance, art in the classic or modern periods was created for aesthetic pleasure for appreciation by those in high society whereas more contemporary art movements are not solely concerned with visually priorities, instead seeking to create a dialogue that interacts with the viewers as if meeting a long lost friend.

Embracing creative process without boundaries, this exhibition focuses on experimenting and searching for connections between two different spaces: the art community within an institution and those outside its walls. The objective of this show is to answer the question: "Has the community living right next to the first art college in Thailand, that has created and nurtured thousands of artists and creators, gained anything?” The exhibition does not aim to create conflicts within the institution, but intends to depict the diverse perspectives of the different groups of people and communities that are sharing the same fence. The exhibition will question the status of ‘art’ and ask whether art can be ‘understood’ or if it is self-deception. The artist hopes to discover a platform for aesthetic discussions that need not only be considered as a high value concept or only take place behind privileged doors. This is an invitation to all artists to be aware that art is no longer just about the creator, it should be seen as a functional device to help affect the real world.

A part of this exhibition is an art prize that does not aim to judge which art or type of art has the best aesthetics, but rather, to formulate a learning process for viewer and participants (artists) to understand the vastly variable standards in giving meaning to a concept or object to the point where we cannot remember the start of the discussion.

Everyone, the viewer and the creator, should realize the other (and others) exists in our society. Acknowledge the other can help open up the new door for searching for the true and infinite meaning of art. Unless you have different opinion?

Sina Wittayawiroj is a graduate student from Silpakorn University, majoring in New Media Art. His works have been exhibited at Lasalle College of Arts Singapore, Speedy Grandma Gallery, Pridi Banomyong Library, Thammasart University and TCDC.

WTF gallery is pleased to announce a pop-up product design exhibition by OAZA, a Croatian designers collective who work in the field of industrial, interior, exhibition design as well as visual communications.

The exhibition will feature ”Lightwear,“ lighting objects that are part of Hungry Designers, a project developed by Design Tourism to promote the Croatian tourism industry. The Hungry Designers project depicts cultural identity through gastronomy and tourism. The designs are based on artists’ analytical and critical perspective, using national identity to influence the design of products and scenarios.

In 2013 ”Lightwear.“ lighting objects were transferred from the realm of handmade objects to the industrial realm by using the laser cutting machines. Laser cutting technology brings a modern influence to traditional handmade work and enables a model for preservation of certain motives from the traditional craft.

The OAZA collective is a group of designers (Nina Ba?un, Roberta Bratovi?, Ivana Borovnjak, Maja Kolar, Tina Ivezi? and Ana-Marija Poljanec), currently based in Zagreb.